# Anne Redpath artist context and auction value notes

Canonical page: https://appraisily.com/artist/anne-redpath/
Profile generated: 2026-05-07T03:28:00.000Z
Quality: high confidence, strong sources

## Artist identity

- Birth date: 1895-03-29
- Death date: 1965-01-07
- Nationality: Scottish, British
- Movements: Scottish Modern Painting
- Common media: oil painting

## About Anne Redpath

Anne Redpath (1895–1965) was a Scottish painter recognized as one of the leading modern artists in twentieth-century Britain. Born in Galashiels in the Scottish Borders, she studied at the Edinburgh College of Art from 1913 to 1919 under Robert Burns, Henry John Lintott, and David McBeth Sutherland. After marrying the architect and painter James Beattie Michie, she spent part of her career active in Brussels before returning to Scotland. Redpath is widely associated with the flowering of Scottish modern painting in the mid-twentieth century, and her work is held in major public collections including the Tate. Collectors encounter her paintings at British and international auctions, where she is regarded as a significant figure in modern Scottish art.

## Common works and media

Redpath is best known for oil paintings on canvas, including still lifes, interiors, landscapes, and church and street scenes. She also produced works on paper. Her subject matter often features tabletop arrangements of flowers and everyday objects, views of European towns and coastlines, and architectural subjects. Works range from small cabinet-scale paintings to larger canvases. Collectors may also encounter preparatory studies and drawings at auction.

## Market and appraisal context

Anne Redpath maintains a well-established secondary market with 144 recorded auction lots spanning 2004 to late 2025, of which 86 carry realized prices. The dominant sales channel is major UK auction houses—Sotheby's, Christie's, and Bonhams account for the highest-value lots, with regional British firms such as Tennants, Dreweatts 1759, Gorringes, and Mallams providing additional liquidity. Her market is overwhelmingly GBP-denominated, concentrated in Post-War and Modern British Art and Scottish Paintings categories. Oil paintings on canvas from her mature period (1940s–1960s) dominate the upper price tier: the top recorded result is £112,500 for Summer Gaiety (Christie's, November 2016), followed by Still Life with Daffodils and Tulips at $90,000 (Heritage Auctions, December 2019) and Begonias at £53,340 (Sotheby's, June 2025). The median across all priced lots is £18,750, with the interquartile range spanning £3,750 to £53,340, reflecting a wide dispersion between prints or small works on paper at the low end and important oils at the high end. Prints and lithographs typically realise £100–£500; watercolours and gouaches generally fall between £1,000 and £3,000. Recent annual volume is thin—only 2 lots in the trailing 12 months and 1 in the prior 12 months—suggesting a selective rather than liquid market, where significant oils appear only when estate or collection dispersals occur.

## Auction-house-backed market evidence

Anne Redpath maintains a well-established secondary market with 144 recorded auction lots spanning 2004 to late 2025, of which 86 carry realized prices. The dominant sales channel is major UK auction houses—Sotheby's, Christie's, and Bonhams account for the highest-value lots, with regional British firms such as Tennants, Dreweatts 1759, Gorringes, and Mallams providing additional liquidity. Her market is overwhelmingly GBP-denominated, concentrated in Post-War and Modern British Art and Scottish Paintings categories. Oil paintings on canvas from her mature period (1940s–1960s) dominate the upper price tier: the top recorded result is £112,500 for Summer Gaiety (Christie's, November 2016), followed by Still Life with Daffodils and Tulips at $90,000 (Heritage Auctions, December 2019) and Begonias at £53,340 (Sotheby's, June 2025). The median across all priced lots is £18,750, with the interquartile range spanning £3,750 to £53,340, reflecting a wide dispersion between prints or small works on paper at the low end and important oils at the high end. Prints and lithographs typically realise £100–£500; watercolours and gouaches generally fall between £1,000 and £3,000. Recent annual volume is thin—only 2 lots in the trailing 12 months and 1 in the prior 12 months—suggesting a selective rather than liquid market, where significant oils appear only when estate or collection dispersals occur.

### Appraisal notes

Appraisily would use these 86 priced auction records as comparable-sale evidence alongside photographs, measured dimensions, medium confirmation, signature verification, condition reports, and documented provenance. Key steps in an appraisal would include: (1) classifying the work by medium—oil on canvas versus work on paper or print—and identifying the period; (2) narrowing comparables to lots of similar medium, scale, subject, and date range; (3) adjusting for condition, provenance quality, exhibition history, and whether the work carries gallery labels from recognised Edinburgh or London dealers; (4) cross-referencing the price distribution quartiles here to bracket an estimate, giving greater weight to Sotheby's and Christie's results for important oils; and (5) flagging any unsigned or lightly documented works on paper for authentication review, since attribution risk is elevated in that segment.

### Valuation factors

- Medium: oil paintings on canvas command the strongest prices (£10,000–£112,500), while prints and lithographs typically realise £100–£500 and watercolours £1,000–£3,000
- Scale: larger canvases (48 cm and above) consistently outperform small cabinet paintings and works on paper
- Subject matter: still lifes with flowers and interiors are the most frequently traded and among the highest-priced subjects; Continental landscapes and harbour scenes also perform well
- Period: mature works from the 1940s through early 1960s attract stronger demand than early career pieces
- Provenance: works with gallery labels from recognised Edinburgh or London dealers, or documented exhibition histories, carry a premium
- Auction house tier: results from Sotheby's, Christie's, and Bonhams set the upper benchmark; regional house results tend to be lower
- Market liquidity: recent annual volume is thin (1–3 lots per year), meaning comparable availability is limited and estimates should account for wider uncertainty

### Collector notes

- Redpath's market rewards selectivity. Serious collector interest concentrates on signed oil paintings from the 1940s–1960s, especially still lifes and interiors in the £15,000–£55,000 range where Sotheby's and Christie's provide the most reliable price benchmarks. Prints and limited-edition lithographs trade below £500 and represent an accessible entry point but limited appreciation potential. Works on paper occupy a middle tier (£1,000–£3,000) and require careful attribution review. The low recent throughput means that when a significant oil appears at auction it can attract competitive bidding—collectors should not assume future opportunities will be frequent. Buyers should verify medium, dimensions, and signature against catalogue descriptions, and insist on condition reports for works on paper, which are vulnerable to foxing and light damage. Provenance documentation from a recognised dealer or estate significantly supports resale value.

### Market caveats

- Price data mixes GBP and USD; the median and quartile figures are drawn from a mixed-currency set and should be interpreted directionally rather than as precise GBP estimates.
- Only 86 of 144 recorded lots have realized prices, meaning roughly 40% of lots either went unsold or prices were not captured.
- Recent auction volume is very thin (2–3 lots per year), making trend analysis unreliable; a single high-value sale can skew annual averages.
- Several recent lot titles contain minor biographical errors (e.g., '1885' instead of '1895'), indicating that catalogue descriptions should be cross-checked against authority records.
- Attribution risk is elevated for unsigned works on paper and prints; authentication may require expert connoisseurship or comparison with documented examples.
- No museum, library, or auction-house URLs beyond the Appraisily auction-record source were included in this source pack; independent verification of individual lot records is recommended.

### Market evidence sources

- undefined: https://appraisily.com/api/scraper-search/artists/anne-redpath/seo-profile?recentLimit=24&relatedLimit=0

## Appraisily data basis

Appraisily artist pages combine identity research from museum records, library authority files, and published biographical sources with auction-house context, sale dates, realized prices, and comparable lots when those records are available. The information on this page reflects publicly documented sources and should not substitute for a professional appraisal.

## Sources

- Wikidata: https://www.wikidata.org/wiki/Q4768742
- VIAF: https://viaf.org/viaf/15582120/
- Library of Congress: https://id.loc.gov/authorities/names/n90667816
- Tate: https://www.tate.org.uk/art/artists/anne-redpath-1821
- RKD – Netherlands Institute for Art History: https://rkd.nl/en/explore/artists/65893
- Getty Vocabulary Program: https://vocab.getty.edu/page/ulan/500011685